My editor and I remain very disciplined. It's just sometimes when you're making a film, you get into the cutting room and you see a scene that's slowing you down in a certain section, but if you remove that scene then, emotionally or story-wise, another scene a half-hour later won't have the same impact. You just get stuck with it.
As they spoke, the only thing I could think about was that scene from Julius Caesar where Brutus stabs him in the back. Et tu, Eric?
Something like the alleyway scene, where it's like a mini one-act play and you run the whole 18 pages of it, it's so much easier to get lost in it. That's why actors love doing theater so much, I guarantee you. It's refreshing to be able to do something where you don't have to be stopped every two seconds, and you can just play it out and it's done.
I grew up being educated by Sesame Street and gained a sense of humor from The Muppet Show. I'd give my right foot to be able to do a scene or two with the Muppets.
I think the most emotional part in making the movie and discovering the movie - because it was a process of discovering - is all the scenes with the family.
The view of the local scene through the eyes of a native participant in that scene is a different window.
Gradually the live TV scene simmered out, replaced by film, and that took place in L. A. So many actors left New York.
I don't want to give any lines to anybody because otherwise they come out like bricks from their mouths. The important thing is the meaning of the scene, not the words you use, and I prefer that you find your own words to express the scene.
The Internet is the crime scene of the 21st Century.
I'm always working in this universe - whether picturing hamburger joints, Virgin Marys, domestic scenes - using these "vacant-faced" women as a medium to question universal truths.
For me, screenwriting is all about setting characters in motion and as a writer just chasing them. They should tell you what they’ll do in any scene you put them in.
New Yorkers have a delightfully narcissistic habit of assuming that if they're not conscious of a scene, it doesn't exist.
I got heavily into the drum-and-bass scene, which is really wicked.
Every scene should be able to answer three questions: "Who wants what from whom? What happens if they don't get it? Why now?
I like the fact you can spend two hours setting up a scene that will only last a couple of seconds. And I like just sitting around and dozing between scenes!
It is poverty's speech that seeks us out the most. It is older than the oldest speech of Rome. This is the tragic accent of the scene.
Just once I'd like someone to call me 'Sir' without adding 'You're making a scene. '
As a filmmaker, you are going to manipulate the character as you need to make the scenes work.
I do think how two people dance with each other is indicative of how they feel about each other. It can tell a lot more than a verbal scene.
I loved, loved, loved the fight that I got to do with Matthew Bomer, who plays Bryce, when we did the fight scene that was back to back in the Buy More.